“A fascinating primer on graffiti writers and culture. Readers interested in the birth of hip-hop, urban culture, or modern art will find this work especially engrossing …The ultimate fascination lies in the artists’ dissection and analyses of their own styles and those of their contemporaries. Readers may be surprised by the careful thought and planning that the execution of each piece entailed.”

— Library Journal

“Presents the first-person accounts of 12 infamous graffiti writers of the 1970s.”

— Fast Co.Design

“With panoramic photographs by Henry Chalfant, a producer of the 1983 documentary Style Wars, and first-person accounts captured by former graffiti artist Sacha Jenkins, Training Days opens a window onto the hidden practice of these artists.”

— Public Art Review

“What comes across most clearly is the power of the human spirit. In a volume only six inches by eight inches, photographs add flavor but, unlike most graffiti books, the words dominate.”

“This remarkable collection of color photographs takes viewers on a memorable journey through the stark yet strikingly unfamiliar regions of central Asia… Will captivate serious photographers including amateurs and photojournalists, as well as anyone interested in the rich history and culture of Central Asia.”

“Several of the works presented in this book…reveal an important Scottish dimension to Turner's marine art.”

— Scotia: Interdisciplinary Journal of Scottish Studies

“Provides intriguing insights into the evolution of Turner’s reputation.”

— Art Eyewitness

“A rare example of an exhibition catalogue that functions independently as an informative, thorough investigation of an underexplored aspect of an artist’s oeuvre. Provides[s] a rich art historical context for the artist’s maritime productions…Highly recommended.”

— Choice

“Contains many high quality color reproductions…Gives extensive analysis of Turner’s work in the context of the Dutch painters who preceded him.”

“Lavish…Here you'll find an 18th-century toile fabric printed with camels and obelisks; a pair of 17th-century enameled hookah bowls on jade palm-tree mounts supported by more camels; and an 18th-century French perfume bottle in the form of an ivory (yes, you guessed it) camel.”

— The New York Times

“After the Ottoman siege of Vienna has been lifted in 1683, an ancestral fear of the Turk soon yielded to fascination throughout Europe. Haydn Williams' lavishly illustrated volume gathers hundreds of examples that testify to a veritable vogue for turquerie, a fantasy no less compelling than the celebrated chinoiserie of the age.”

— The Art Newspaper UK

“Haydn Williams is well placed to explore this rich and evocative phenomenon … With its sumptuous illustrations, this book would appeal to anyone interested in Ottoman culture, Orientalism, or eighteenth-century decorative arts.”

— Cassone UK

“Marvelous.”

— Literary Review

“Beautifully illustrated…If you are a student of history, a serious collector, or just someone who is fascinated by this unique and little-mentioned period of dominance by the Turks, this is your book.”

— Examiner.com

“Smart and beautifully illustrated …Williams does a masterly job distilling the many sophisticated histories and concepts that must be understood to fully appreciate the origins and manifestations of Turkish trends and tastes in Europe.”

— Burlington Magazine UK

“As Haydn Williams explains in his lavishly illustrated Turquerie, the aristocrats of Europe fell victim to a craze for all things Turkish—or, rather, for a romanticized version of Turkish life…Turquerie eventually gave way to other vogues for the exotic, but its vision of the good life remains as intriguing as ever.”

“Provides plenty of history to engage the mind and the senses…We see how Turkish elements where interpreted and imitated by France and other European nations—a perspective that helps expose and celebrate the defining points of the Turkish aesthetic.”

“More than a collection of images…The section of sketches is what proves to be most illuminating; the stormy mind of Apeloig unfolds as he brainstorms and experiments on paper and in digital form.”

— Cool Hunting

“Typorama could be required design history reading, but its real value lies in [the] examples of the creative process. Will the lessons be lost on today’s designers, who work in a nanosecond, nanobyte world? Will they want to spend the time that the volume demands? One can only hope the answer is yes.”

— Communication Arts

“A typographic feast that showcases modern work, exploring his creative process along with his personal and artistic motivations.”

— Print Magazine

“Will become essential reading for anyone with an interest in the recent history of graphic design.”

“Adam N. Stone has identified a subculture that refuses to crow up, settle or sell out. But will they buy in? To answer that question, Stone defines the space where brands must operate if they are to reach the unbrandables.”

— Communication Arts

“[Outlining] the world of 'unbrandables,' both unbrandable people, a new consumer group that rejects inauthenticity and materialism, and unbrandable brands, those products that have found a way to connect with these consumers …this work offers a provocative discussion on how consumers and brands interact and will satisfy those interested in marketing, advertising, or consumer behavior.”

“A breathtaking social portrait, peeling the glitter from privileged lives even as it fleshes out the spectacle they created.”

— The Washington Post

“The Unfinished Palazzo tells the stories of notoriously eccentric women: the Marchesa Luisa Casati, from Milan, a champion exhibitionist who considered her life (and especially her person) to be a work of art; Doris, Lady Castlerosse, an Englishwoman whose lovers included both Winston Churchill and his son, Randolph; and finally [Peggy] Guggenheim, the American art patron who bequeathed the mansion to her family's foundation as a museum of modern art. … Their life stories are flashy, a kaleidoscope of bad marriages, bad divorces, Fortuny dresses, outlandish costume parties, fashionable portraits, excessive champagne, famous lovers, pickup lovers, alienated children and overlapping celebrity acquaintances. … In more enlightened times these women might have had solid accomplishments…but Mackrell's documentation of their relentless self-absorption and unfiltered vanity argues against it.”

— The New York Times Book Review

“Skillfully weaves historical details into absorbing biographical profiles while also capturing the charm of Venice… Mackrell explores [the] eventful lives [of] three remarkable women [who] differed in many ways, but points out their similarities in motivation, independence, daring unconventionality, and historic roles in Venice and social culture. Her astute commentary is particularly illuminating, enlarging the reader's understanding of these individuals and the larger framework of their worlds. Well-chosen photographs and comprehensive notes and bibliography enhance the volume.”

— Library Journal

“Thoughtful, gracefully written and engaging… Like Paris, Venice is a subject rife with cliché. Ms. Mackrell sidesteps this pitfall by focusing on one tiny part of the city. By book's end, the complexly fated, much-altered Venier comes to seem a mirror of its occupants. Self-­realization is often bound up with real estate, and rarely more so than at the palazzo non finito.”

“Informative, richly illustrated… One of the contributions of this book is to show how intensely and creatively the artist and his team worked together. It’s also noteworthy for illuminating his signature achievement: translating challenging and highly abstract ideas about design, architecture, and space into physical manifestations that deeply engage viewers.”

— Library Journal

“Eliasson’s own words as well as in-depth descriptions accompany photographs of each project, while essays by renowned geologists, historians, architects, artists, and philosophers enrich our understanding of his multifaceted practice.”

“Richard Havers focuses on key acts like Charlie Parker as well as lesser-knowns.”

— Billboard

“One of the more engrossing books on the history of jazz record labels…does admirable work in exploring segregation and racial tension and provides brisk profiles of the generations of artists who recorded for the label.”

— Sunday Denver Post

“A lovely and solid coffee table book…Would make a great gift for anyone who likes jazz.”

— The Nation

“Havers documents and illustrates the history of one of our finest record labels.”

— Broadway World

“Will appeal to anyone interested in mainstream jazz and the graphic art that is spawned.”

— Library Journal

“Well worth acquiring for the priceless photos.”

— LA Jazz Scene

“[A] glorious volume commemorating one of the premier record companies of jazz from its founding by one of the great impresarios of jazz, Norman Granz.”

— Jazzhouse Diaries

“Gives an in-depth overview and has interesting photographs throughout.”

— DurhamRegion.com

“A fitting tribute. Beautifully written and illustrated, it …offers a fascinating glimpse into American musical culture.”

— KCRW FM: Rhythm Planet

“From the label that signed America’s jazz legends in the ‘50s and ‘60s, a look at the music, its stars and its continuing influence.”

— People

“If someone made an important contribution to jazz, they were probably signed by Verve…How there’s a new book by Richard Havers, ‘Verve: The Sound of America’ …which explores its rich heritage in vivid photographs and illustrations.”

— Women's Wear Daily

“A magnificent new release documenting the history of one of America’s greatest record labels…Verve: The Sound of America captures the spirit of jazz, a quintessentially American genre of music…for any fan of jazz music who would undoubtedly spend hours on end poring over this voluminous delight.”

— Hip Hop is Read

“Record covers are only a portion of VERVE: The Sound of America …but the collection hits all the right notes. It’s a fascinating portrait of [founder Norman] Granz, who fought a war against segregation through music, and of Verve artists. The studio and documentary photographs are a draw, but nothing can beat the covers for eye appeal.”

— Steven Heller The New York Times Book Review

“Look[s] at Granz’s—and Verve’s—musical legacy.”

— DownBeat

“Every jazz fan will love having Verve: The Sound of America (Thames & Hudson, 2013), or the newly released Blue Note: Uncompromising Expression (Thames & Hudson/Chronicle Books, 2014)…Celebrating the jazz masterpieces that came wrapped in cellophane, carefully placed in bins, ready to give our lives pleasure and joy, these books are reminders of the greatness of our musical heritage and the wonderful teams of talented people who made our recording industry the best of all time.”